Attractions In & Around

Other Attractions In & Around

Udaygiri and Khandagiri	The Orissa state museum	Rajarani Temple
Nandankanan	Mukteswara Temple	Lingaraj Temple
Dhauli	Bindusagar Lake

Bindusagar Lake

Situated to the north of the Lingaraja temple is a lake called the Bindusagar lake adding grace to Bhubaneshwar and attracting many tourists. Once a year the Lingaraj temple deity is brought out for the ritual bath in the centre of the tank and it is believed a dip in the holy tank at Bindusagar washes away all the sins.

To the north of the Lingaraja temple is this 1,300 ft long and 700 ft wide Bindusagar Lake. It is popular as a picnic spot among the locals too. The scenic beauty of this lake is enhanced by the stones, which have been laid along the embankments.

The waters of the lake are said to be an amalgamation of every holy river, stream, lake or pool in India..

Legend : Legend has it that Lord Shiva revealed to his consort, Parvati that Bhubaneshwar or Ekamra thirtha was a resort favoured by him over Benares. So, Parvati in the guise of a cowherd woman, decided to look at the city herself. It so happened that two demons Kritti and Vasa desired to marry her. She requested them to carry her upon their shoulders, and crushed them under her weight. Lord Shiva, then created the Bindu Saras lake to quench her thirst, and took abode here as Krittivasas or Lingaraja.

Location : North of the Lingaraja temple, Bhuvaneshwar.

The Temple : The vast Bindu Sagar lake is the center around which are located the multitude of temples of Bhubaneshwar. The Lingaraja temple is located in a spacious courtyard bounded by fortified walls. Its tower rises up to 180 feet and is elaborately carved.

Feast to the eyes : Bindusagar is to be enjoyed quietly, with the reflections becoming inspirations causing joy.

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Dhauli

Dhauli hill is on the bank of the river Daya, about 8 kms south of Bhubaneshwar. In the year 272 B.C., the Kalinga-Nippon-Buddha Sangha established a peace pagoda (Shanti Stupa) at Dhauli along with the construction of a monastery called Saddharma. "Ashoka the Great" transformed totally and changed his mind in favour of spiritual conquests.

Looking down on the plains bearing witness to the gruesome war waged on Kalinga by the Mauryan emperor Ashoka, stand the rock edicts of Dhauli. It was here that Emperor Ashoka, full of remorse renounced his bloodthirsty campaign and embraced Buddhism. The edicts are a living testimony to the King's change of heart, where he urges his administrators to rule the land with justice and compassion. The edicts are so remarkable that they have been excellently preserved, despite the fact that they date back to the 3rd century BC. A sculpted elephant, the universal symbol of Lord Buddha, tops the rock edicts. The moment one enters near this place, one realizes that it is here after the battle Ashoka was transformed to Ashoka - The Compassionate who championed the cause of Buddhism.

The Shanti Stupa or the peace pagoda, built through the Indo-Japanese collaboration, is located on the opposite hill. It has an interesting background that goes.

As per Japanese belief, there is a prophecy handed to history about 7 to 7 1/2 centuries ago by Mahatma Nichiren Imaha Bhikshu. He prophesied that the chief priest of Nipponzan Myohoji Fuji Guruji would come to India in 1930 from Mt. Minobu, the original holy place of the Nichiren sect. He came and got the Shanti Stupa built, which was inaugurated on November 8, 1972. It is a round structure with a dome on top, with mushroom-like structures on top, raising their umbrella heads as if speaking to God. The stupa is decorated with speaking stone panels. Prominent amongst them being the reclining Buddha, an elephant procession, the bodhi tree, footprints of Buddha bearing the chakra (wheel), a sleeping beauty fanned by female attendants, procession on horse back, and Emperor Ashoka renouncing war by offering his sword to Lord Buddha at Dhaulagiri Hill. Each is a sensitive portrayal of an event ranking outstanding Buddhist tradition..

Drastic change : Ashoka, the great seeing the horrors of war immediately changed his mind in favour of spiritual conquests in preference to war exploits. He donned orange robes and the world saw in Ashoka the making of a great patron of Buddhism.

Location : 8-km south of Bhubaneswar, Orissa

Memories attached : The stupa stands at the same site, where Ashoka had renounced military conquest. On way to the hill is an Ashokan rock edict, guarded by a stone elephant, where the Emperor unfolded his moral plan for the world through his rock and pillar edicts. Dharmavijaya, meaning hegemony by moral conquest was his philosophy. The rock edict commemorates his foreswearing peace after his renunciation in the 9th regal year.

Only two minor rock edict inscriptions refer to him as Ashoka, elsewhere he is termed as Devanampriya Priyadarsi, the beloved of gods, who glances graciously on all and preaches dharma (moral values).
The conqueror became the greatest human rights protagonist. So much so that his vision, his philosophy still holds the key to world peace. Such things happen once in many centuries. Truly said - Ashoka and peace become one at Dauli Hill.

Attractions around : The foothills are covered by green paddy fields, which is soothing for both eyes and mind.
Along with the Ashokan Edicts, the peace pagoda and modern Buddhist monastery, Dhauli offers small rock cut caves, Hindu temples of early medieval period and a renovated Shiva temple dedicated to Lord 'Dhavalesvara' on top of the hill. They offer a sublime tranquility and meditative serenity.

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Lingaraj Temple

It is dedicated to Lord Shiva and the Lingam here is unique which is a hari hara lingam - half Shiva and half Vishnu. The temple is about a thousand years old and dominates the skyline of Bhubaneshwar from as far as 15 kms. away and exhibits the skill of the Orissan temple architects.

This temple is dedicated to Tribhubaneshwar or the Lord of Three Worlds. Interestingly the Lingaraja temple is said to have been built first by the ruler Yayati Kesari in the 7th century who shifted his capital from Jaipur to Bhubaneshwar. Bhubaneshwar remained as the Kesari capital, till Nripati Kesari founded Cuttack in the 10th century. Inscriptions from the period of the Kalinga King Anangabhima III from the 13th century are seen here.

Lingaraja temple is an architectural marvel. The temple consists of a Natya Mandir (the Hall of Dance), Bhog Mandap (the Hall of Offering), Jagamohan (the Porch) and a 55 m high tower. There are more than 150 other shrines around the main temple. The Lingaraja temple is one of the most famous temples in Orissa and is also known as the Bhubaneswar temple. To the north of the Lingaraja temple is the Bindusagar Lake..

The Temple Deity : By the time the Lingaraja temple was constructed, the Jagannatha cult had become predominant throughout Orissa. This is reflected in the fact that the temple deity here, the 'Svayambhu Linga', is not, as in all other cases, strictly a 'Shiva linga', but rather it is considered to be a 'Hari-Hara' linga, - half Shiva, half Vishnu.

The Jagmohana : The 'Jagamohana' is monumental closely following the 'deul' in decorative details. The 'Jagamohana' originally had two balustrade windows, of which the one on the south side was converted into a door at a later date, perhaps when the 'Nata-Mandira' or 'Bhoga-Mandapa' was built.

The name : The temple is named after the "Linga" or phallic symbol enshrines in it. Built in 617-657 A.D. it soars up to a height of about 54 meters, dominating the skyline for kilometers around. The temple consists of curvilinear walls, a pillared hall, a dancing hall and a hall for serving the offerings. It can be rather called a temple complex as more than a hundred temples of different sizes are situated within its premises. This is one of the famous Saiva Pitha in India. It represents the peak of Kalinga style of architecture spanning over 25 centuries of progressive history.

Minor Shrines In The Compound : Amidst the group of shrines clustering round the great temple; one on the north of the 'Jagamohana', known as "Gopalini" or "Bhuvanesvari" and the other, on the south of the 'Deul', known as "Savitri", are of the "Khakhara" order. The 'Parsva-Devatas' in them are different forms of 'Parvati'.

Some of the other subsidiary shrines are a number of images of different dates, mostly of 'Parvati', 'Karttikeya', 'Ganesa' and 'Surya' and rarely of 'Balarama', 'Subhadra', 'Krishna' and 'Trivikrama'.

Many of them found their way into these shrines after the decay or destruction of the temples, to which they originally belonged. Particularly noticeable is an early image of 'Parvati', housed in a tiny shrine to the northeast of the Lingaraja temple.

A Magnificent Example Of Architecture : According to expert opinions this temple is one of the best archaeological monuments of the East. This great temple represents the quintessence of the Kalinga type of architecture and the culminating result of the architectural activities at Bhubaneswar. It sure is a product of the accumulated and crystallized experience of several centuries. In the elegance of its proportions and the richness of its surface -treatment, it is one of the most finished and refined manifestations of the temple-architecture in India.

The treatment of its different elements displays the consummate skill of its master-designer; all its constituent parts are effectively integrated into a compact unity of supreme dignity. The crowning achievement of the architect is the design of the graceful contour of its towering 'Gandi'. The Gandi's soaring height and grandeur are almost a marvel.

The plastic embellishment of the temple is of equally exquisite workmanship, where all the panoply of Orissan decorative motifs is mustered with a rare aesthetic sense. Every piece of carving serves its appointed role enhancing the majesty of the edifice as a whole. With all the features fully evolved, it is the culmination, in every respect, of the architectural movement at Bhubaneswar.

The temple is a combination of four structures, all in the same axial alignment - 'Deul', 'Gahamohana', 'Nata-Mandira' and 'Bhoga-Mandapa'. The spacious courtyard is full of shrines, big and small, of varying dates, their number exceeding a hundred, of which only a few are of outstanding merit. The complex is enclosed by a massive compound-wall pierced by an imposing portal on the east and two secondary gates on the north and south.

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Mukteswara Temple

This temple is often referred to as the "gem of Orissan Architecture" and has been built on the lines of the Kalinga School of temple architecture. It is dedicated to Lord Shiva - Mukteswara and is carved with figures of ascetics in various poses of meditation. A dip in a sacred well to the east of the temple is said to be a cure for infertility..

The stunning structures and images : The innovations are even more interesting to note. The Jagmohana building has become a structure in its own right, and has begun to show the later shape of a terraced pyramid (although the internal shape has not yet become a real square). Both buildings are now on platforms, and their component parts have become more fully accentuated. Over the doorway to the inner sanctum, the ninth planet (Ketu, identified by the canopied, three hooded snake) has been introduced. On the other hand, haloes have been removed from the cult images. In general, comparing this temple to the earlier Parsurameswara, one gets to notice an overall lightening of effect.
Almost all of the sculptures on the temple are wonderful. Around the windows of the Jagmohana are monkeys engaged in a variety of humorous and lively scenes depicting popular stories from Panchatantra (Indian ancient tales). The image of a mythical lion head with open jaws, flanked by attendants, over an elaborate horseshoe shaped 'chaitya' arch (found on the southern exterior projecting wall of the tower) is common on Tantric shrines, and is found on many later Orissan temples. This is the first and the finest appearance of the image.
There are a number of depictions of skeletal ascetics among the sculptural images, most of them shown in teaching or meditation poses. Some scholars have suggested that this relates to the role of the temple as a center for Tantric initiation. The name Mukteswara ('the Lord who bestows freedom through Yoga') might support this view.
On the outer face of the compound wall are niches containing a variety of divinities. These include Saraswati (sitting on a lotus with two female attendants), Ganesa (with his attendant mouse), and Lakulisha (the fifth century founder of the Pashupata sect of tantric Shaivism), who is portrayed sitting cross-legged, with two miniature ascetic figures in the triangular side panels.
Several small shrines can be noticed within the compound, many with lingam inside. These were offering shrines depicting utmost faith in God for all purposes during that era.

The apt title Gem : The frequency with which the term 'gem' is employed is immediately appreciated with the very first glimpse of this delicate, refined little structure.
In addition to its beauty, this temple is important as a transition point between the early and later phases of the Kalinga School of temple architecture, where the builder has successfully combined many elements of the old with new designs and conceptions. Many of the innovations took root, and became essential features of all later temples and this made one, describe the Mukteswara as "harbinger of the new culture".

The relationship with older structures can be immediately seen in the small size of the temple - 35 feet (11 meters) high at the pinnacle of the tower. At this stage, Orissan builders had not yet attempted the later colossal structures. The latticed windows of the 'Jagmohana' (porch) were probably modelled on those of the Parsurameswara temple, and the octagonal compound wall seems to have been patterned on an earlier structure, which now exists only in fragmentary form. A 'torana' (arched gateway), which was excavated in a field near Bhubaneswar in fragments, is now in the Orissa State Museum. Its extraordinarily beautiful sculpture includes elaborate scrolls, graceful female figures, monkeys, peacocks, and a wealth of delicate and lovely decorative detail.

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Nandankanan

Nandankanan literally means the 'Garden of Pleasure' or 'Garden of Gods'. It is in Chandaka forest, 25-kms from Bhubaneswar and is famed for its white tiger population. It houses a variety of mammals, reptiles and various species of birds. The zoo enjoys an excellent reputation internationally, for successfully breeding black panthers and gharial crocodiles..

Location : 20 km from Bhubaneswar.

Added attractions : Safaris for viewing the white tigers and lions in the natural habitat in specially designed protected buses are added attractions. The rope-way connecting the Zoo with the Botanical Gardens over the lake, the boating facilities, the Lion Safari (a wide stretch of open ground infested with Lions where visitors get to see them in their natural habitat) and the toy train for children have added new feathers to Nandan Kanan's cap, making it a hot family favourite.

Nandan Kanan, with its Zoo, nature trails and facilities for amusement, is definitely a must see.

Collection : Picturesquely carved out of the Chandaka forest, Nandankanan is a Biological Park where animals are kept in their natural habitat, where a centrally located lake divides the Zoo from the Botanical Gardens. Tigers, Lions, Clouded Leopards, Black Panthers, European Brown Bear, Himalayan Black Bear, Gharials, Rosy Pelican, Grey Pelican, Indian Python, King Cobra, etc. are among the attractions. The exotic Botanical Garden on the other side of the zoo preserves varieties of indigenous plants.

Interesting Incidents : The zoo has created history in many ways

In 1967, a wild female tiger approached Nandan Kanan, and scaling a high fence, she crept around until she found the tiger enclosure. She then climbed up a concrete wall, and leapt down into it, thus perhaps becoming the only wild animal in existence ever opted to join in a zoo. In commenting on this rare occasion, the National Geographic magazine pointed out that Orissa must be the only place in the world with enough sophistication to have a modern, well designed zoo, and enough tigers to stock it by voluntary membership!

Now, dont you think its worth visiting this?

Nandan Kanan also has the distinction of the first captive-breeding center for gharial crocodiles, a task facilitated by the gift of an adult male by the Frankfurt Zoo.

The zoo has also given a new lease of life to one of the rarest creatures of the world - the white tiger, with important research and concerted efforts on to breed them in the natural environs of Nandan Kanan. This regal animal first came to here in 1980 when the first litters of white tigers were born to Deepak and Ganga, two normal tawny tigers. Subsequent litters of white tigers have been distributed to Zoos both in India as well as abroad. Currently Nandan Kanan has one of the largest collections in the world.

Endangered species such as the Asiatic Lion, three Indian crocodilians, sanghai, lion tailed macaque, Nilgiri langur, Indian pangolin, mouse deer and countless birds, reptiles, and fish have been successfully breeding here. There is also a successful Black Panther breeding programme.

The 34 aquaria - home to a large variety of freshwater fish, and the Reptile Park - home to numerous species of crocodiles, lizards, turtles and snakes, is guarded by the image of a life sized Tyrannosaurus Rex, are perpetual crowd-pullers.

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Rajarani Temple

Rajarani temple got its name from a red- gold sand stone used, which is called Rajarani locally and the temple has no presiding deity. The temple has intricately carved figurines in various stages of daily chores..

The fact behind the name : The Rajarani temple, dating back to the 11th century, is set in open paddy fields, and the entire structure exudes grace and elegance. The name of the temple has been the subject of much debate. The most likely explanation being related to the lovely red-and- gold sandstone used in its construction. The debate is complicated by the fact that the names of all the Hindu temples in Bhubaneswar dedicated to the God Shiva end in the suffix eswar (for example Parasurameswara, Mukteswara, etc.), while those of the non-Shaivite temples are derived from their presiding deities (e.g. Parvati temple).

One major scholar has argued that the name Rajarani was only applied to the temple at a later date (because of the sandstone), but originally this is the Shiva shrine referred to in early texts, as Indreswara. This seems the most likely conclusion.

The jagmohana (porch) is extremely plain, which was evidently repaired in 1903 after having fallen down in ruins. The deul (tower), on the other hand, is spectacularly ornate, and is famous for the aesthetic concept of miniature temple spires clustered around the main tower. The sculptural images of the temple are elegant and lively, especially the beautiful female figures which are in amorous dalliance, as well as engaged in such activities as holding children, looking in mirrors, and playing with pet birds. On the lower register of the deul, on the corner projections, are found the famous 'Guardians of the Eight Directions'.

This Temple is the only one of its kind in the region of orissa to have a cluster of diminutive towers, or sikharas, in tiers composing the main tower. Both the jagamohana, or porch, and the deul, or central shrine, are richly decorated. The whole temple is ornately carved with artistic sculpture featuring an unusual delicacy

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The Orissa state museum

It houses a rich collection of sculptures, coins, copper plates, stone inscriptions, lithic and bronze age tools, rare manuscripts written on palm leaves, traditional and folk musical instruments. Rare epigraphic records are preserved in the Epigraphy Gallery.
A visit to the museum provides an instant overview of Orissa as it was and of course still is. The Handicrafts Museum has a splendid collection of stone sculptures, patta paintings, brass castings, horn toys and Orissa's famous silver filigree work. The Tribal Museum provides an insight into the tribal culture of Orissa..

Location : It is located on the Jaydev Marg in Bhuvaneshwar

Timings : 10 a.m. - 4 p.m.

It is closed on Mondays and Government holidays.

Unique style : They had a fabulous sense of painting. Palm leaves were dried, and with a stylus the writing was incised into the leaf. It is said that the script of Oriya has a predominance of rounded letters, formed from writing on palm leaves, which would have split if the letters had been too angular in relation to the horizontal line of the leaf.
The leaves were then blackened with charcoal and wiped so that the incised letters stood out in black. There are several painted and incised drawings and illustrations on the manuscripts. These paintings, on par with the stone sculpture; follow a style that is particular to Orissa. Well-developed figures, wearing heavy jewellery and patterned clothing are depicted in the scenes. The details of the scenery in these paintings are quite remarkable - a tree signifies a forest, a flowering bush, a garden, a few waves with lotuses symbolise a pond. Architectural structures are included to depict houses, places and jungle hamlets. The sky is strewn with flowers when the occasion is auspicious.
It is interesting to note that one of the earliest palm-leaf manuscripts (1690) is of the Gita Govinda, a Devotinal poem written by Jayadeva in the 12th century. The painting is in primary colours: red, yellow and blue, with shades of green.

Collection : The galleries cover archaeology, epigraphy, numismatics, armoury, mining and geology, paintings, anthropology and manuscripts.

The manuscript Gallery is significant containing some rare palm leaf manuscripts. The 50,000 manuscripts, some of which are beautifully illustrated, cover subjects as diverse as religion, philosophy, medicine, mathematics, warfare and the crafts.

Rare epigraphic records are preserved in the Epigraphy Gallery. Stone inscriptions and a number of plaster cast impressions of original depict earlier patterns of writings, following different dialects and languages.

When Bhubaneshwar became the capital of Orissa, the museum was moved from Cuttack to its present location. The collection of the museum centres on the arts of the region. Orissa has one of India's oldest and most artistic traditions, ranging from Buddhism, Jainism to Hinduism, including the magnificent temples of Bhubaneshwar and the Sun Temple at Konark in the 13th century. There are several galleries devoted to sculptures from these temples.
Like the temples at Kahajuraho in Madhya Pradesh, Tanjore (Thanjavur) in Tamilnadu and Modera in Gujarat, those in Orissa reached their apogee between the 10th and the 13th centuries. Sculpture works of fine quality and restrained ornamentation were prepared to adorn parts of the temple. The sculptured panels of musicians, elephants and deities such as Mahishasuramardini are noteworthy.

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Udaygiri and Khandagiri

These are the twin hills 7 kms. from Bhubaneshwar. The 135 ft high Udaygiri and 118 ft high Khandagiri hills have ancient caves. Khandagiri means "broken hill" and Udaygiri means "hill of the sunrise." The caves on the two low hills of Udaygiri and Khandagiri give ample proof of Jain and Buddhist occupation.

This served as the site of an ancient Jain monastery, which was carved into cave like chambers in the face of the hill. The twin hills of Kumargiri and Kumarigiri known as Khandagiri and Udaygiri contain varieties of rock-cut caves.
Dating back to the 2nd century BC, some of the caves have beautiful carvings. The Rani Gumpha (Queen's Cave) - one of the largest and double-storied is ornately embellished with beautiful carvings. In the Hati Gumpha (Elephant Cave), King Kharavela carved out the chronicles of his reign. It is a magnificent specimen of Pali records so far found in India..

Udaygiri : There are many caves in the middle of the second hillock. There are statues of elephants on the gate of first Alkapuri cave. Behind it, Rani cave has numerous internal caves. In patel cave there are several idols of different Tirthankaras.
Udaygiri is adorned with a number of beautiful caves out of which the largest one is the 'Rani Gumpha'. Another important cave is 'Hathi Gumpha' containing the only rock-cut inscription in India, which records chronologically the deeds of king Kharavela.

The contrast Kharavela : Kharavela was as great in peace as in war. In the first year of his rule he rebuilt the gates and walls of 'Kalinganagara', his capital, which had been devastated by a cyclone. Next he concentrated on enlarging a canal said to have been excavated by a Nanda king. In the 'Kumari-Parvata' (Udaygiri Khandagiri) he excavated, caves for Jain ascetics and erected at an enormous cost, on the 'Pragbhara' in the neighbourhood of the monastic retreats, a certain structure with hundreds of stones collected from different quarries and pillars with core of cat's eye gem. No doubt he was a ruler of great accomplishments.

Kharavela's chief queen is known to have been the donor of the upper storey of Cave-9 ('Svargapuri') of Udaygiri. Majority of the caves originated during this period. At the same time, an earlier origin of the Jain establishment on the hills cannot be ruled out. It is also not unlikely that the Kalinga-fina removed by the Nanda king and recovered by Kharavela had its original enshrinement on the hills and was reinstalled here by Kharavela.

The rise of the 'Lakulisa-Pasupata' sect, which transformed Bhubaneswar into a 'Saiva' centre and the growing influence of which was ultimately responsible for the decline of Buddhism in that city hardly affected this Jain centre, whose inscriptions show that it continued to be inhabited under the 'Bhaumas' and their successors, the 'Somavamsis'.

Khandgiri : There are strait ladders to climb up on the hill. There are four temples on the mountain, the oldest being 200 years old. Thousands of fragments lie behind it. There is one cave by name "Barah Bhuji cave". Many caves are for meditation. Akshay Ganga, Gupta Ganga, Shyam kund and Radha kund are behind the main temple.

On the Khandagiri are more than a dozen caves. The 24 tirthankaras cave containing the images (all carved on monolithic stone) of the 24 Apostles of Jainism is of great interest.
Two monolithic elephants guard the other fascinating cave known as ‘Ganesh Cave’.

Location : 7 kms. from Bhubaneshwar

The conquests : King Kharavela was a powerful ruler, who acquired great proficiency in games and received good education while the prince. He was installed as 'Yuvaraja' (crown prince) when he was sixteen and succeeded to the throne when he attained twenty five. Almost immediately thereafter he launched Kalinga on an ambitious career of conquest, leading expeditions far and wide. In the second year of his rule he led his troops to the west without caring for the Satavahana king 'Satakarni' and reached the river Krishna and challenged the ruler.
Next he captured the capital of a prince named 'Vidyadhara' and subdued the 'Rashtrikas' and 'Bhojakas' in the north Deccan. Four years later, he stormed 'Gorathagiri' (Barabar hills, Gaya) and harassed the ruler of 'Rajagriha' (Rajgir, District Nalanda). A 'Yavana' (Indo-Greek) king is said to have fled to Mathura out of fear.

In his eleventh year he destroyed the city of 'Pithuda' (Masulipatam region) and next year challenged the rulers of 'Uttarapatha' (north India) defeating King 'Bahasatimita' of Magadha (south Bihar). He brought back with him booty from Ariga (east Bihar) and Magadha, including a Jain-cult object (Kalinga-fina), which was taken away long ago by 'Nanda', the ruler of Magadha. Next he snatched treasures from the 'Pandyan' king in the extreme south. Thus, the brunt of Kharavela's sword was felt throughout a large part of India.

History : The records, found incised on the walls of some of these caves, furnish the supreme evidence of the existence of a powerful dynasty, the 'Chetis' (Chedis).
Kudepasiri and Vadukha are known only as the donors of two of the cells of the lower storey of Cave-9 (Manchapuri) of Udaygiri. But many details are available about Kharavela from his famous inscription engraved on the brow of the rock over Cave-14 (Hathi-gumpha) of the same hill. The inscription, in seventeen lines, is largely defaced and indistinct, with the result that its full text cannot be made out and its interpretation is not always above doubt.

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